{"id":42420,"date":"2024-12-03T10:18:25","date_gmt":"2024-12-03T18:18:25","guid":{"rendered":"https:\/\/www.ourstarblazers.com\/vault\/?p=42420"},"modified":"2025-12-08T19:15:02","modified_gmt":"2025-12-09T03:15:02","slug":"sportsnippon283b","status":"publish","type":"post","link":"https:\/\/www.ourstarblazers.com\/vault\/sportsnippon283b\/","title":{"rendered":"Sports Nippon<\/em>, February 23"},"content":{"rendered":"

<\/p>\n

Nishizaki\/Yamato<\/em> vs Kadokawa\/Harmagedon<\/em><\/h2>\n

Spring Break Anime War Year<\/h3>\n

In the film industry, where expressions like “Battle of XX” and “XX War” are often used, the one that is currently attracting the most attention is the “Spring Anime War.” While hit-maker Producer Haruki Kadokawa is taking on anime for the first time with Harmagedon<\/em>, the return of Space Battleship Yamato<\/em>, which has been marketed twice in the past as “the last,” has been the subject of much rumor after three years. Are people whispering, “Is this really the last?” But even though anime popularity is on the decline, there’s still a lot of buzz around “creating a buzz.”<\/p>\n

– Katsuyuki Kikuchi<\/em><\/p>\n

<\/p>\n

UPPER LEFT SECTION:<\/em><\/span><\/p>\n

Groundbreaking Work<\/h2>\n

HARUKI KADOKAWA<\/p>\n

Is it true? The third and final time<\/h3>\n

Haruki Kadokawa was the one who brought the method of product advertising campaigns to the film industry and succeeded in doing so. This method has now become “common sense” in the film industry. It is certainly clever. I wonder if this was also orchestrated by the producer as part of a promotional strategy, but there are suspicions that it was Kadokawa and Harmagedon<\/em> who instigated the confrontation with Producer Nishizaki and Yamato<\/em>.<\/p>\n

At the production announcement last May, Kadokawa said, “I’m not like some producers who say, ‘This is the end’ and then make another series,” which caused a huge laugh in the audience.<\/p>\n

He is quite enthusiastic about “the decisive battle,” and after watching a full rush print of Harmagedon<\/em> on the 18th, he praised himself by saying, “This is amazing. It’s a groundbreaking anime. It’s a great piece of work.”<\/p>\n

The producer also wrote in the December issue of Variety, “The film adaptation of Harmagedon<\/em> is my message.”<\/p>\n

<\/br><\/p>\n

LOWER RIGHT SECTION:<\/em><\/span><\/p>\n

Farewell<\/em>…Be Forever<\/em>…and The Final Chapter<\/em><\/h3>\n

Maybe this time<\/h2>\n

YOSHINOBU NISHIZAKI<\/p>\n

I can’t lose to a movie that ends in a haphazard way<\/h3>\n

Producer Yoshinobu Nishizaki burst onto the scene with Space Battleship Yamato<\/em> (1977). Through Tokyu theaters, he released an anime that interested no one at first, and it became a huge hit. His status was solidified the following year with Farewell to Yamato<\/em>, which was a massive hit with box office receipts of 2.12 billion yen. Nishizaki became a “legend” in anime films.<\/p>\n

With the approaching release of the fourth film in the Yamato<\/em> series, The Final Chapter<\/em>, Nishizaki said, “I’ve been having trouble sleeping. And I wake up suddenly in the middle of the night…” It’s been ten years since he started working in TV anime, and when he thinks about ending Yamato<\/em>, which is a part of himself, he feels an increasing desire to make sure he has “no regrets.” That said, is this really the end?<\/p>\n

“This time I’ll finally settle things. It’s fun being called ‘The boy who cried wolf’ by Haru-san (Kadokawa). He’s invading the main battlefield of anime, so I just can’t lose to something that ends haphazardly.” He’s suddenly become more energized; he seems like the aggressive type by nature.<\/p>\n

Farewell<\/em> (1978) and Be Forever<\/em> (1980) were both loudly advertised as “This is the last one!” And both were hits. The box office revenue for Be Forever<\/em> was 1.35 billion yen, down 770 million from the previous film. This spring’s The Final Chapter<\/em> will be the third “last one,” and it sounds like a mnemonic.<\/p>\n

Once again, he strongly believes this is the real end. After checking, Nishizaki boasted, “Harmagedon<\/em> started as an anime ‘written in words.’ As a story, it only has an introduction and development. There’s no twist or conclusion. At the very least, I have never betrayed my fans with the quality or content of my work!”<\/p>\n

He declared indignantly, “This is my response to Haru-san for calling me ‘The boy who cried wolf’.” The situation is shaping up to be “The Battle Between Nishizaki and Kadokawa.”<\/p>\n

<\/br><\/p>\n

LOWER LEFT SECTION:<\/em><\/span><\/p>\n

Advance tickets sold in great numbers…over 350,000!!
\nCrusher Joe<\/em> leading<\/h3>\n

While those involved with both Harmagedon<\/em> and Crusher Joe<\/em> lament that they have been left behind Yamato<\/em> in advance ticket sales, they acknowledge that Crusher Joe<\/em> has already sold more than 350,000 tickets, and are boasting that it will exceed 700,000 by the time of its release.<\/p>\n

Even so, they seem concerned about the Yamato<\/em> myth, saying, “Even though they say it’s ending, a new Yamato<\/em> will be released next year…” There is also criticism of the fact that the release of Yamato<\/em> was delayed a year from the original planned date, saying, “They ran away from the fight!” But looking at it from the other side, it seems that the influence of Yamato<\/em> is still great.<\/p>\n

1983 Anime Predictions<\/h3>\n

You may be wondering why there is such a fuss over something as trivial as anime. The reason is the sheer size of the market. Eight million anime fans go the cinema every year, and nearly 80% of those visits are concentrated in the spring box office.<\/p>\n

Toei’s works, which mainly focus on fairy tales, have made inroads with the young child demographic and have earned the trust of mothers. Toho’s Doreamon<\/em> series also boasts enduring popularity, with theaters often overwhelmed with customers every year.<\/p>\n

Naturally, the income is also large. What’s more, those involved in the film industry are hoping for the future potential of children who grew up watching Toei, Toho, or other anime. The aim is to make them as familiar as possible with their company’s films.<\/p>\n

Despite this, the anime boom sparked by Yamato<\/em> is said to be fading as child fans have grown tired of it. In that sense, this spring’s anime showdown will likely be a sign of the future direction of anime.<\/p>\n

<\/br><\/p>\n

Return to previous article<\/a><\/p>\n

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